This week Intrada releases two CDs that are co-productions with the Walt Disney Studios -- their previously announced release of Hans Zimmer's score for this summer's megabudget Western adventure THE LONE RANGER, and Joel McNeely's score for Disney's 2008 animated spinoff of Peter Pan, TINKER BELL.

Quartet has just announced two upcoming CDs featuring previously unreleased scores by fan favorites -- Cliff Eidelman's score for the 1990 advertising comedy CRAZY PEOPLE, directed by Tony Bill and starring Dudley Moore and Daryl Hannah (when it began filming, it was directed by its screenwriter, Mitch Markowitz, with noted comedy star John Malkovich in the lead); and Pino Donaggio's score for Euro horrormeister Dario Argento's 2005 TV movie DO YOU LIKE HITCHCOCK?

July 26 - Buddy Baker died (2002)
July 27 - Marc Wilkinson born (1929)
July 27 - Alex North begins recording his score to The Outrage (1964)
July 27 - Jerome Moross died (1983)
July 27 - Miklos Rozsa died (1995)
July 28 - Carmen Dragon born (1914)
July 28 - Brian May born (1934)
July 28 - Richard Hartley born (1944)
July 28 - Basil Poledouris records his score for The House of God (1980)
July 28 - Laurence Rosenthal records his score for Proud Men (1987)
July 29 - Mikis Theodorakis born (1925)
July 29 - Bronislau Kaper begins recording his score for Quentin Durward (1955)
July 29 - Lee Holdridge records his score for The Explorers: a Century of Discovery (1988)
July 29 - Doug Timm died (1989)
July 30 - Antoine Duhamel born (1925)
July 30 - David Sanborn born (1945)
July 30 - Richard Band begins recording his score for Zone Troopers (1985)
July 31 - Barry De Vorzon born (1934)
July 31 - Lionel Newman begins recording his score for The Last Wagon (1956)
July 31 - Richard Band records his score for The Alchemist (1981)
July 31 - Lennie Niehaus records his score for the Amazing Stories episode "Vanessa in the Garden" (1985)
August 1 - Walter Scharf born (1910)
August 1 - Jerome Moross born (1913)
August 1 - Lionel Bart born (1930)
August 1 - Paul Sawtell died (1971)
August 1 - Arthur B. Rubinstein records his score for the Amazing Stories episode "Remote Control Man"(1985)

DID THEY MENTION THE MUSIC?

BLACKFISH - Jeff Beal

"The roughness of the footage aside, 'Blackfish' is expertly shot and edited, with a Jeff Beal score that suggests both ominous urgency and natural wonder."

"Working with cinematographer John R. Leonetti and editor Kirk Morri, Wan carefully crafts each set piece so that each visual punch has maximum impact from a nerve-shredding musical soundtrack from composer Joseph Bihara. Sometimes, that includes making the audience think something is coming. When it doesn't, the audience relaxes -- only to be whacked by a fright when they least expect it."

Charlie McCollum, San Jose Mercury News

"They perform a full-on exorcism on the house and bring along a few wacky side characters for the ride, but as 'The Conjuring' progresses, the scares don’t register beyond standard issue horror gotchas. They’re as telegraphed as the musical cues alerting you something spooky is about to happen."

Adam Graham, The Detroit News

"Director James Wan successfully imbues the film with a sense of foreboding. Along the way the sound effects, unsettling music and eerie mood keep viewers on edge."

Claudia Puig, USA Today

"In their place, Wan and his frequent cinematographer John R. Leonetti focus on an atmosphere of constant anxiety, utilising slow, fluid camera movements to hint at horrors that could be lurking just out of view. Likewise, composer Joseph Bishara has fashioned an elegant, restrained score that rarely oversells the shocks, preferring a quietly insistent mood of slithering unease to produce its desired effects."

Tim Grierson, Screen International

"What makes the film connect is the way Wan and his collaborators build trepidation through patient technique -- using character, shadows, anticipation, sound, music, point of view, camera moves and the opening and closing of doors rather than gore, excessive CGI or cheap shocks. (Well, okay, there are several shocks, but they're well-placed)."

Mike Russell, The Oregonian

"Loosely approximating the mildly funky fashions and longish haircuts of the period, the film reinforces its ’70s orientation with stylized homemovie footage and the occasional use of a paranoid zoom lens. 'Insidious' composer Joseph Bishara supplies another deranged symphony of screeching strings, working in nerve-shredding counterpoint to the film’s inventive soundscape of bumps, creaks, whispers and pauses."

Justin Chang, Variety

"Heightening the mood throughout is the churn and squall of Joseph Bishara’s score (with featured vocals by avant-garde priestess Diamanda Galas), and the blood-chilling sound design, a dynamic orchestration of creaking doors and angry things that go bump in the night."

"Cinematographer Larry Smith, who worked with Stanley Kubrick on lighting 'Barry Lyndon,' 'The Shining' and 'Eyes Wide Shut' (check out the sex-club scenes), gives the film a toxic allure. And the synth score, by' Drive's Cliff Martinez, is some kind of new classic."

Peter Travers, Rolling Stone

"The seedy, neon-lit Bangkok streets are depicted as a place of depravity and no mercy but also martinet control, in which Chang must restore order by taking vengeance on Crystal's war of vengeance. What this means is a lot of overripe maiming and execution, all accompanied by satanic synth-pop."

Owen Gleiberman, Entertainment Weekly

"Equipped with a terrific score from 'Drive' composer Cliff Martinez that’s full of pounding drums and terse strings, 'Only God Forgives' doesn’t so much build tension as it sets a mood and then explores it like spelunkers in a cave, examining every crevice of this dark, mysterious space. Consequently, Refn’s film lacks the obvious rush of some of his earlier work, but its hyper-lucid attention to its atmospheric tone makes it relatively gripping nonetheless."

Tim Grierson, Paste Magazine

"It's only fair that we give a chance to the art that has the potential to rub us the wrong way. For a little while, I was grooving on the film's aesthetic elements -- Larry Smith's ninth-circle-of-hell cinematography, Cliff Martinez's droning synth score, Beth Mickle's superbly chintzy production design (love those Kubrick-esque brothels). Then the Refn-y stuff takes over: Pregnant-pause glances between characters stretch scenes way past the point of tedium, while the hyper-stylized violence is all foreboding build-up, no cathartic release. (As a wise movie drill sergeant once opined, the film doesn't have the goddamn common courtesy to give you a reach-around.)"

Keith Uhlich, Time Out New York

"Stylistically, the film evokes Stanley Kubrick (with its icy tableaux of silent actors) and David Lynch (with its fascination with texture and saturated colors). The soundtrack too, by Cliff Martinez, is rich with slowly creeping dread and, occasionally, painful dissonance."

Stephen Whitty, Newark Star Ledger

"It’s not that overwrought violence and human depravity are unfit grist for art, but without a compelling plot and a modicum of character development, all this film has to offer is a repugnant prurience and heavy-handed atmospherics. The latter consist of backlit chiaroscuro drenched in red, fantasy sequences seemingly designed to confuse the viewer and thrumming blasts of soundtrack electronica of the sort usually reserved to herald the emergence of a 300-foot-tall robotic death machine from the depths of the ocean."

Kerry Lengel, Arizona Republic

"Nevertheless, 'Only God Forgives' suffers from the disconnect between its stylistic high-art archness and its content’s pulp gratuitousness. Refn gives every sequence a hushed consideration, but there’s rarely a sense that he’s earned it with equivalent profundity in theme, especially when he arrives at a final mother-son scene that takes that relationship to an absurdly literal place. Yet Refn’s filmmaking skills keep on sharpening with each successive effort: 'Only God Forgives' is a sensual wonder, floating an ultra-sleek vision of Bangkok’s hotels, nightclubs, and flophouses on the keys and percussion of another score by 'Drive' composer Cliff Martinez. It’s eye candy with a sour taste."

Scott Tobias, The Dissolve

"There’s no question that he’s in command of his images and audio. Working again with the 'Fear X' and 'Bronson' cinematographer Larry Smith and his 'Drive' composer Cliff Martinez, Refn toils like a satanic fashion designer, flooding the frame with bloodshot visions."

Peter Howell, Toronto Star

"It’s a gorgeous headache of a movie, propped up by another hypnotic Cliff Martinez score and graced with just enough expressive touches to make it look, if viewed from far enough away, like the existential joyride that preceded it. But be forewarned, 'Drive' fans: There are no real human beings here. No real heroes either."

A.A. Dowd, The Onion

"The seriousness with which Refn treats 'Only God Forgives' has led to much critical ridicule. But mocking the improbable characters and bizarre juxtapositions is too literal and superficial a reading of this dreamy, entrancing movie. Refn knows exactly what he’s doing -- he’s in on the joke -- and he revels in the sensory pleasures of film as an art form (the score by Cliff Martinez, who also did 'Drive', is practically a character here)."

Rene Rodriguez, Miami Herald

"The film also reunites Refn with his 'Bronson' director of photography Larry Smith and 'Drive' composer Cliff Martinez, whose soundtrack functions like a sonorous wave."

Margery Baumgarten, The Austin Chronicle

"Like exploitation enthusiast Quentin Tarantino, Refn is that rare lover of bad movies who also has the chops to elevate grindhouse material to the stature of art -- a welcome talent in cases where schlock-drawn directors’ ideas are rich enough to transcend genre (for Refn, 'Bronson' came awfully close a few years back). Certainly, there’s enough here to fuel a lifetime of therapy sessions, as Refn extends his recent tendency of using cinema to wrestle his demons onscreen. The trouble is, he’s in such expert command of technique (reteaming with 'Bronson' d.p. Larry Smith and 'Drive' composer Cliff Martinez) that few will see beyond the surface."

Peter DeBruge, Variety

"Matthew Newman’s editing mirrors the languid fluidity of the visuals. And composer Cliff Martinez again makes an indispensable contribution to Winding Refn’s defining aesthetic with a richly textured score that combines pounding martial arts drumbeats, bursts of ecclesiastical organ music, lushly romantic orchestral riffs that recall Pino Donaggio’s work for Brian De Palma, and obsessive techno beats that at times evoke the vintage electropop of Giorgio Moroder."

"It doesn’t take a genius to recognize the transparent grab for urban and Latino audiences here -- especially in light of 'Fast & Furious 6's nearly $700 million worldwide haul -- reflected in everything from the supporting cast to Henry Jackman’s hip-hop-themed score. At this budget, the studio will need everybody it can get to make this escargot go."